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Repertoire of Russian folk drama. Prose: Russian Classical Prose: Folk Drama

Repertoire of Russian folk drama. Prose: Russian Classical Prose: Folk Drama

19.02.2019

The main thing in this play is the originality of its language, the scope and color of the Russian character, they push the content into the background. I think the main thing here is not about what, but as they say. me like young director, infinitely pleased, here is this remark: “No scenery, no backstage, no prompter, no stage equipment at all is supposed to.” I'm being ironic, of course, but it struck me as remarkable. Indeed, the time of this work and even its understanding are far from us, and in my time it is completely incomprehensible to me how to make a performance out of nothing (although, it seems to me that this can be organically included in the Shrovetide scenario, as a prologue to fisticuffs). And yet, despite the fact that I understand what a gulf there is between me and this work, I am touched by its immediacy. The field of reading in the thoughts remains the phrase “Well, wow! A?! This is necessary!!!”, because the play ends with a fight! And for some reason good feeling which each of us experienced in childhood at the first contact with folk art ...

Ataman. Esaul!
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
Esaul. What do you order, mighty Ataman?
Ataman. We will hang out here
Let's go down the mother Volga to roam.
Instantly build me a stagnant boat!
Esaul. Ready, Ataman:
Rowers in places
Paddles on the sides!
Everything is in perfect working order.

At this time, all the robbers sit on the floor, forming between them an empty space (boat), in which Ataman and Esaul walk around.

Ataman (addressing Esaul) Well done! Spent soon! (Turning to the rowers.) Pray, guys, to God! Back off.

Volga open spaces and songs, I am inspired by one thought about this, because I know what the Volga is like, you can go down to it, feel the spirit and character with which it filled your cities. Then it seems natural that the Ataman should stamp his foot every time and pronounce the same text. Is it because this play itself is more like a song ...

Comments:

First published. in the book: Sipovsky V. V. Historical reader on the history of Russian literature, vol. 1, no. 1, 5th ed. SPb., 1911, p. 239-242. See also: Berkov P. N. Russian folk drama of the 17th-20th centuries: Texts of plays and descriptions of performances / Ed., Intro. Art. and comment. P. N. Berkova. - M., 1953, p. 143-149.

Down the mother along the Volga - song unknown author XVIII-early XIX century.

Among the dense forests - a song version of the poem by F. B. Miller "The Burial of the Robber (from Freiligrat)".

There were two of us - my brother and I - at the heart of the monologue - a fragment of A. S. Pushkin's poem "The Robber Brothers".

Hey mustache! Here are the mustaches! Ataman mustache! - a daring or robber song, the hero of which is considered the robber Ivan Us, who acted in the 17th century in the Voronezh province.

The attachment:

Ministry of Education and Science, Youth and Sports of Ukraine

Eastern Ukrainian National University named after Vladimir Dahl

Faculty of Mass Communications

Department of Journalism

Test

in the discipline "General Ethnology"

specifics of folk drama. Rogue Drama"Boat"

Completed by: student Paevskaya Natalia

Head: Professor Fesenko Yu.P.

Lugansk 2011

Plan

1. Formation of folk drama

2. Features of the wedding drama

3. Repertoire of Russian folk drama

4. Robbery drama "Boat"

1. The formation of folk drama

People's drama is primarily understood as dramas created directly by the people. If the description of this phenomenon is approached from the standpoint of its dialogue, aimed at depicting a person in action, then elements of folk drama can be found in various forms art is still in the early stages cultural development person. As A. N. Veselovsky demonstrated in his works, the primitive syncretism inherent in the first stages of creativity of all peoples, by virtue of its nature, already contains elements of folk drama.

In Russian folklore, elements of folk drama were widely represented both in the so-called calendar rituals and in family rituals, especially wedding ones. The elements of drama are already in their infancy in the most common village round dances and round dance games, while the round dances are often divided into two talking halves. For example, in the famous ritual song “And we sowed millet”: at the end of the song, one of the girls goes to the young women, and the girls sing:

We have lost in the regiment.

Oh, did-ladu, gone!

And the young people answer:

We have arrived in the regiment.

Oh, did-ladu, it's arrived!

During the ceremony, there is a symbolic transition of newly married girls into a circle married women. The same dialogue is found in other round dance games of a wedding nature. In other round dance games (for example, “The prince-king is walking around the city”, “I’ll come up, I’ll come up under the stone city”, “You, wind, cabbage”, “Hare”, “Sparrow”, etc.) song text is only an accompanying explanation of the highly developed dramatic action. Exclusively big interest from the point of view of literary evolution, they represent those ritual games that reproduce different types household chores: a round dance game that reproduces in action and song the entire process of processing flax (“Under oak flax, flax”), or a song that reproduces in its game and in a verbal explanation the entire process of weaving. The character of a dramatic action is also carried by many rituals associated with family life- with birth, marriage and death. And yet, the most favorable ground for the development of a dramatic game is certainly a complex and solemn wedding ceremony.

2. The origins of drama in wedding ceremony

The peasant wedding ceremony is also an extremely complex, multi-component game (realized by the peasantry itself - it is not for nothing that the term “playing a wedding” is common). This game is divided into distinct separate parts, like acts or actions, sometimes lasting several days and with a large number of participants. Unlike round dance games, which have an invariant text, the wedding game consists of a curious contamination of traditional stage maxims and some song texts. The latter have a kind of improvisation that penetrates into the lamentations of the bride, the sentences of the wedding boyfriend, into the conditional conversations of matchmakers with the parents of the bride, etc. The specificity of this improvisation lies in the fact that individual motives and the nature of the roles are determined in advance by centuries-old custom, while the verbal canvas is created every time anew by the performers-authors, in accordance with the role of each of them, but within the limited limits of the stylistic canon inherent in this genre and even this role.

Whereas dance games are almost entirely the creation of communal peasant life, in the wedding ceremony, along with the original peasant elements arising from the very foundations of the peasant economy, layers of the artistic and everyday culture of other social strata also play a significant role, which is reflected both in the texts of songs and sentences, and in material form. Monuments of antiquity, in particular, note the active participation in the wedding amusements of buffoons, masters of verbal and theatrical art, serving different social strata, from the royal court to the rural area. Remains of the buffoons' creativity are found by researchers both in the sayings and in the play of the wedding bridesmaids, as well as in special comic scenes played out at the wedding and already directly related to the folk drama.

One of the elements of wedding entertainment is the so-called dressing up (as a goat, a bear, women - a man, men - a woman), the theatrical nature of which is beyond doubt. The same dressing is found in many agricultural ceremonies (for example, at Christmas, on Shrovetide, on Rusal Week, on Ivan's Day, etc.). Genetically, they go back to the remnants of totemism and primitive magic. A technical improvement in disguise is the use of a mask. The use of the mask, which is widespread among different peoples, is associated with the development of animistic ideas: apparently, its initial purpose is to give the bearer of her qualities of the being that she represents.

3. Repertoire of Russian folk drama

The repertoire of Russian folk drama is small: only a few plays from a plot point of view. Most often they call the plays "Tsar Maximilian", "Boat", "Barin", "Horse", "Mavrukh", "Pakhomushka". However, here the emphasis should be on the improvised nature of the folk drama, which led to the existence a large number variations of the same piece. The most famous Russian folk drama is "Tsar Maximilian", found in two hundred versions, which differ significantly from each other. The origin of "Tsar Maximilian" has not yet been clarified. Some researchers, eg. V. V. Kallash, suggested that this play is a dramatic reworking of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torment for confession Christian faith. Others (P. O. Morozov and A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), suggest that this drama goes back to some school drama of the first half of XVIII century, in turn based on some translated story late XVII - early XVIII century. But from these possible prototypes, stories and school drama, "The Comedy about Tsar Maximilian and his son Adolf" should have retained, in any case, only very little - maybe only the scenes where the pagan king demands worship of "idol gods" from his Christian son. The rest of the content is saturated with scenes borrowed, apparently, from various interludes (including "About Anika the Warrior and His Struggle with Death"), episodes from the nativity scene, the Petrushka Theater, and also from others. folk plays related to "Tsar Maximilian": "Boats", "Barin", etc. In addition, the text of "Tsar Maximilian" is full of excerpts from folk songs and romances, as well as distorted quotations, folk adaptations of poems by Pushkin, Lermontov and other poets.

drama ritual round dance peasant

4. Robbery drama "Boat"

The robber drama "The Boat" is the second most widespread Russian folk drama. The names "Boat", "Gang of robbers", "Ataman" are also known, one of the complicated options is "Mashenka". According to its basic scheme, this play is very close to the traditional beginning of several robber songs, often timed to coincide with the name of Stepan Razin: a boat is described floating down the river (“Mother Volga”) with robbers sitting in it and an ataman standing in the middle of the boat.

According to this play, one can trace the features of composition and style characteristic of folk drama. Firstly, this is a weakly marked plot core: in the “Boat” the key motif is the journey of the robbers, led by the chieftain and passing meetings with the old man, captain, etc. In one of the common options, the journey begins due to the ordinary boredom of the chieftain and ends reprisal against the landowner. Thus, the social orientation of the work becomes clear, as well as the typical division into “us” and “them”, the opposition “people” and “landlords”.

The dramatic effect of the plays did not consist in complex twists and turns and the development of action, but rather was achieved through a quick change of scenes, comic dialogue. The techniques that form the comic of the dialogue were simple. One of the popular tricks was oxymorons, built on the combination in one or several phrases of concepts or images that contradict each other: “All of us, good fellows, soaked, so that it did not leave a single thread wet, but all dry ”;

"Esaul. We need you! Are you glad to us, dear guests? Landowner. Glad! Esaul. How glad? Landowner. How the hell!”.

The reception of the game by homonyms (that is, words that sound the same, but different in meaning) and synonyms (similar in meaning, but different in form) is also widespread. Often the game of homonyms is enhanced and facilitated by the motive of the deafness of one of the characters:

« Esaul. I see: a deck on the water! Ataman(as if he didn't hear it). What the hell is the governor! ”;

« Esaul(declares). Black on the sea. Ataman(as if he didn't hear it). What the hell?"

The composition is also characterized by the use of repetitions borrowed from songs. The action goes in a circle: the ataman with the same saying (“Come to me soon, / Speak to me boldly! / You won’t come up soon, / You won’t say it boldly - I order you to roll a hundred, / Your Esaul service will be lost for nothing!” ) tells him to sing a song to him first, then to inspect the surroundings; the esaul, in turn, repeats "I look, I look and I see." These elements become a kind of narrative nodes, verbal markers of action.

There is an opinion that initially such dramas arose among schoolchildren, and they were most widespread among the soldiers and part of the peasantry, which broke away from the village thanks to seasonal work. The conditions of barracks or artel life implied the accumulation in one place a large number familyless people, which in itself contributed to the creation of peculiar theater groups. The plays learned in the city or at the factory were then carried around the villages, became an integral part of the Christmas pastimes and involuntarily absorbed dramatic elements traditional ritual folklore.

Bibliography

1. Veselovsky A. N. Historical poetics. - M .: " graduate School", 1989. - 408 p.

2. Vsevolodsky-Gerngross V. N. Russian oral folk drama. - M.: Publishing House of the Academy of Sciences of the USSR, 1959. - 136 p.

3. Golovachev V. G., Lashchilin B. S. People's Theater on the Don. - Rostov-on-Don: Rostizdat, 1947. - 184 p.

4. Russian folk drama of the 17th-20th centuries: Texts of plays and descriptions of performances / Ed., Intro. article and comment. P. N. Berkova. - M.: Art, 1953. - 356.p.

Rogue Drama "The Boat"

The dramatic effect of the plays did not consist in complex twists and turns and the development of action, but rather was achieved through a quick change of scenes, comic dialogue. The techniques that form the comic of the dialogue were simple. One of the popular tricks was oxymorons, built on the combination in one or several phrases of concepts or images that contradict each other: “All of us, good fellows, were soaked, so that not a single thread was left wet, but all were dry”;

"Esaul. We need you! Are you glad to us, dear guests? Landowner. Glad! Esaul. How glad? Landowner. How the hell!”.

« Esaul. I see: a deck on the water! Ataman(as if he didn't hear it). What the hell is the governor! ”;

« Esaul(declares). Black on the sea. Ataman(as if he didn't hear it). What the hell?"

There is an opinion that initially such dramas arose among schoolchildren, and they were most widespread among the soldiers and part of the peasantry, which broke away from the village thanks to seasonal work. The conditions of barracks or artel life implied the accumulation in one place of a large number of familyless people, which in itself contributed to the creation of original theater groups. The plays learned in the city or at the factory were then carried around the villages, became an integral part of Christmastime fun and involuntarily absorbed the dramatic elements of traditional ritual folklore.

folk drama

Imaginary master

Characters:

Barin, in military uniform, with shoulder straps; a white straw hat, with a mustache, with a cane, with an umbrella.

The mistress, a disguised man from young guys: in a dress, in a cap. Tries to speak in a thin voice.

An innkeeper, in a loose shirt, in a vest, a green apron on his chest, a cap on his head.

A footman, in a tailcoat or frock coat, a cap on his head, gloves on his hands.

The headman, an old man in a sermyag, a black hat with a cauldron on his head, a bag behind his shoulders, bast shoes on his feet.

Barin. Maria Ivanovna, let's go for a walk. ( Enter the tavern, turn to the Innkeeper.) Innkeeper!

Innkeeper. Anything, barin naked?

Innkeeper. No, good sir, I praised you!

Barin. Do you have rooms for Marya Ivanovna and I to settle down, to drink tea and coffee?

Innkeeper. There is, even upholstered with tapestries, sir.

Barin. And will you be able to eat?

Innkeeper. How, sir, you can, sir.

Barin. What exactly will be cooked?

Innkeeper. Roast-s.

Barin. Exactly what?

Innkeeper. A mosquito with a fly, a cockroach with a flea cut into twelve pieces, sir, cooked for twelve people, sir.

Barin. Maria Ivanovna! What a wonderful hot! (To the Innkeeper.) How much will it cost, sir?

Innkeeper. One and a half six hryvnias!

Barin. Fool, wouldn't it be better for you to say: two ten!<…>

Innkeeper. No, we are not blockheads, but we live with people on deceptions; they didn’t see such people, they let them go home without an overcoat; and if you are decently treated, you can let go without a uniform; you have a louse on a lasso in one pocket, a flea on a chain in the other!

Barin. Ah, Maria Ivanovna! He must have climbed into our pocket! I don't want to walk, I move on.<…>

Is his lackey.

Footman. What, barin naked?

Barin. Oh, how you have shamed me!

Footman. No, good sir, I praised you.<…>

Barin. Little Afonka, have you watered my horse?

Footman How, master, drink!

Barin. Why does the horse upper lip dry?

Footman. Couldn't get it.

Barin. And you would have screwed up.

Footman. I chopped off my knees!

Barin. Fool, you would cut the trough!

Footman. I already cut off all four legs!<…>

The headman enters, bows to the Barin and speaks.

Warden. Hello, master father, gray stallion, Mikhailo Petrovich! I was at the Nizhny Novgorod fair, I saw pigs of your breed, but I sold your master's skin, at your mercy the collar was very strong; I also brought you a present: a goose and a turkey.

Barin. What are you, a fool, is there a gentleman's breed of pork?

Warden. your factory.

Barin. Oh yes, my factory! Do bars wear collars?

Warden. Very durable, boyar-father!

Barin. Well, tell me, elder, where are you from?

Warden. From your new village.

Barin. Well, how are the peasants in the village?

Warden. Poratos live well: they jump from foot to foot, seven yards have one ax.

Warden. Each peasant has up to seven axes.

Barin. Ah, how good! What do they do with axes?

Warden. They are cutting down forests.

Barin. Go cut down a lot?

Warden. Porato a lot, boyar-father.

Barin. How much?

Warden. And this is how they gather with the whole village into the forest, and take a rope, tie it to the top, bend, bend ... the whole village and bend all day.

Barin. What are you talking about, you won't understand anything!

Warden. For each ax, seven trees are cut down, boyar-father!

Barin. Ah, how many! And what do they do from the forest?

Warden. Houses are being built.

Barin. Come on big ones?

Barin. How big?

Warden. And the dogs are running, looking out the window.

Barin. What are you talking about, you won't understand anything!

Warden. Chickens fly out onto the roof, they grab stars from the sky! I went out in the morning: the rooster is coming, dragging for half a month.

Barin. And what huge houses! Do they have big windows?

Warden. Porato big, boyar-father!

Barin. How big?

Warden. And here's how: it is marked with a chisel, and checked with a gimlet, your mother, a crooked bitch, stares and stares.

Barin. What are you talking about, you won't understand anything!

Warden. You can see all the light in one window!

Barin. And what big windows! Do our peasants have arable farming?

Warden. Yes, boyar father.

Barin. Come on a lot?

Warden. Porato a lot, boyar-father!

Barin. And how much?

Warden. In that direction, a sazhen, and in another sazhen, so there will be four around.

Barin. What are you talking about, you won't understand anything!

Warden. Each peasant has seven acres.

Barin. Ah, how many! Come on, our peasants on many horses and go to arable land?

Warden. Too bad for many.

Barin. How about many?

Warden. The whole village on one plow and then on a goat.

Barin. What are you talking about, you won't understand anything!

Warden. Each peasant rides out on a pair of horses.

Barin. Ah, how many! Do they leave early for arable land?

Warden. Too early, boyar-father!

Barin. And how early?

Warden. They will leave at noon, and at lunchtime they will be at home.

Barin. What are you talking about, you won't understand anything!

Warden. They work from morning to evening, from sunrise to sunset.

Barin. Oh, good! Our peasants even have large crops!

Warden. Porto big.

Barin. And how big?

Warden. Grain in a strip, another in a furrow, and the whole sowing.

Barin. What are you talking about, you won't understand anything!

Warden. Each peasant sows seven sacks.

Barin. Oh, good! Do they have a good harvest?

Barin. And how big?

Warden. Ear from ear - no human voice is heard.

Barin. What are you talking about?

Warden. The chicken can't get through!

Barin. Ah, how good! Is there such a thing as a big drink?

Warden. Porato is big, boyar-father!

Barin. And how big?

Warden. A sheaf from a sheaf is a pillared verst, and a sheaf from a sheaf is a day's ride; you go quietly - you will pass two.

Barin. What are you talking about, you won't understand anything!

Warden. On every tithe, it becomes a hundred kopecks.

Barin. Ah, how good! Do they have big mop and mop?

Warden. Porato big, boyar-father!

Barin. How big?

Warden. The chicken will move.

Barin. How how?

Warden. Don't throw a stick!

Barin. Ah, how good! Do they have a big threshing like that?

Warden. Porto big.

Barin. And how big?

Warden. They start threshing, and the grain does not fly.

Barin. How how?

Warden. From each barn, seven sacks are threshed.<…>

Barin. Have you been, headman, at my new manor?

Warden. How, sir, was ...

Barin. Is everything safe there?

Warden. All is well, boyar-father; yes, Aunt Marfunka stuck a scribble by her bast shoe.

Barin. Give her here!

Warden. Now, boyar-barin.

Barin. Just don't tear it up!

Warden. I won't tear it, I'll just crush it. ( Drags the letter from the shovel.) <…>Come on, sir, read it.

Barin ( takes a note and says). How do you write something, the basics?

Warden. Don't make out your damn eyes!

Barin (reads). How did you say all is well? First, my penknife broke!

Warden. They broke it, boyar-father, they broke it, they angered God, they broke it!

Barin. Well, tell me how it was broken?

Warden. Here I will tell you how it was broken! As your blue-spotted stallion died, we skinned him, cut his tail all around, and the knife was steel and it cracked.

Barin. How, did my gray-piebald stallion poke?

Warden. Died, boyar-father!

Barin. Did you generation?

Warden. Died.

Barin. Well, tell me, why did you give birth?

Warden. I'll tell you why he died! How your mother, a crooked bitch, gave up, they took her to the cemetery, and he was zealous with a heart, he broke his leg, and then he died.

Barin. How did my mother die?

Warden. Generation…

Barin. Did she die?

Warden. Generation!

Barin. You see, Marya Ivanovna, horses are dying, and people are shaking! Well, tell me, why did my mother die?

Warden. I’ll tell you why I got hurt ... As your three-story house caught fire, your mother was zealous with a heart and jumped off the porch, broke her leg, and then got hurt.

Barin. How, did my three-story house burn down?

Warden. A long time ago!<…>

Barin. Have you been on fire?

Warden. How, boyar-father, he was. He ran around three times, pulled out three of these red bricks!

Barin. Was there nothing left of the fire?

Warden. No, there are many...

Barin. What is it?

Warden. And what do they drink tea!

Barin. What is tea, or what?

Warden. No, bigger.

Barin. So sugar, right?

Warden. No, blacker.

Barin. So coals, right?

Warden. Here, here are the coals.<…>

Barin. Where have you been wandering so far?

Warden. I rode in your red boat.

Barin. You see: the gentleman has a noose around his neck, and he rode on a red boat.

Warden. If you, master, had a noose around your neck, I would have taken it, trimbabuli-bom, and crushed it!

Glutton Kedril

<…>Then followed the second play, a dramatic one - "Kedril the Glutton". The name interested me very much; but no matter how much I asked about this play, I could not find out anything beforehand. I only learned that it was taken not from a book, but “according to a list”; that the play had been obtained from some retired non-commissioned officer in the suburbs, who, no doubt, had himself taken part in the performance of it on some soldier's stage.

We, in remote cities and provinces, really have such theatrical plays, which, it would seem, are unknown to anyone, perhaps never published anywhere, but which themselves appeared from somewhere and constitute an indispensable accessory of any folk theater in a certain part of Russia.

By the way: I said "people's theater". It would be very, very good if one of our prospectors would take up new and more thorough than hitherto research on folk theater, which is, exists, and even, perhaps, not entirely insignificant. I don't want to believe that everything that I later saw with us, in our prison theater, was invented by our own prisoners. Here the continuity of tradition is necessary, once established methods and concepts, passing from generation to generation and according to old memory. You need to look for them among the soldiers, among the factory, in the factory towns, and even in some unfamiliar poor towns among the townspeople. They also survived in the villages and provincial cities between courtyards of large landed houses. I even think that many old plays have bred in the lists in Russia only through the landowners. The former old landowners and Moscow bars used to have own theaters made up of serf artists. And it was in these theaters that the beginning of our folk dramatic art, whose indications are unmistakable.

As for "Kadril the Glutton," as much as I wished, I could not learn anything about it beforehand, except that evil spirits appear on the scene and carry Kedril to hell. But what does Kedril mean, and, finally, why Kedril and not Cyril? Is this a Russian or foreign incident? – I could not achieve this.<…>

We played the overture “Canopy, my canopy” again, and the curtain rose again. This is Kedril. Kedril something like Don Juan; at least, both the master and the devil's servant are taken to hell at the end of the play. A whole act was given, but this, apparently, is an excerpt; beginning and end are lost. There is not the slightest sense and sense. The action takes place in Russia, somewhere in an inn. The innkeeper leads into the room a gentleman in an overcoat and a round warped hat. Behind him comes his servant Kedril with a suitcase and a chicken wrapped in blue paper. Kedril in a sheepskin coat and a footman's cap. He is the glutton. He is played by the prisoner Potseikin, Baklushin's rival; the gentleman is played by the same Ivanov who played the benevolent landowner in the first play. The innkeeper, Netsvetaev, warns that there are devils in the room, and hides. The master, gloomy and preoccupied, mutters to himself that he has known this for a long time, and orders Kedril to unpack his things and prepare dinner. Cedril is a coward and a glutton. Hearing about the devils, he turns pale and trembles like a leaf. He would have run away, but the master is cowardly. And besides, he wants to eat. He is voluptuous, stupid, cunning in his own way, a coward, he cheats the master at every step and at the same time is afraid of him. This is a wonderful type of servant, in which Leporello's traits are somehow unclear and distant, and really wonderfully conveyed. Potseykin with a decisive talent and, in my opinion, an actor even better than Baklushin. Of course, when I met Baklushin the next day, I did not fully express my opinion to him; I would have upset him too much. The prisoner, who played the gentleman, also played well. He was talking the most terrible nonsense, unlike anything; but the diction was correct, brisk, the gesture was appropriate. While Kedril is busy with his suitcases, the master walks around the stage in thought and announces publicly that this evening is the end of his wanderings. Cedril listens curiously, grimaces, says a parte and makes the audience laugh with every word. He does not feel sorry for the master; but he heard about devils; he wants to know what it is, and so he enters into conversations and inquiries. The master finally announces to him that once, in some kind of trouble, he turned to the help of hell, and the devils helped him, rescued him; but that today is the deadline and, perhaps, today they will come, according to the condition, for his soul. Kedril begins to tremble. But the master does not lose heart and tells him to cook dinner. Hearing about dinner, Kedril perks up, takes out the chicken, takes out the wine, and no, no, but he himself will nibble off the chicken and taste it. The public is laughing. Here the door creaked, the wind knocked on the shutters, Kedril trembled and hastily, almost unconsciously, puts a huge piece of chicken in his mouth, which he cannot even swallow. Laughter again. – Is it ready? - shouts the master, pacing around the room. “Now, sir, I’ll cook for you,” says Kedril, he sits down at the table and calmly begins to eat the master’s food. The public, apparently, loves the agility and cunning of the servant and the fact that the master is a fool. It must be admitted that Potseykin was indeed worthy of praise. The words: "Now, sir, I'll cook for you," he pronounced excellently. Sitting at the table, he begins to eat greedily and shudders with every step of the master, so that he does not notice his tricks; As soon as he turns around in place, he hides under the table and drags a chicken with him. At last he satisfies his first hunger; it's time to think about the bar. – Kedril, are you soon? - shouts the master - Done, sir! - Cedril answers briskly, realizing that there is almost nothing left for the master. There really is a chicken leg on the plate. The master, gloomy and preoccupied, not noticing anything, sits down at the table, and Kedril with a napkin stands behind his chair. Every word, every gesture, every grimace of Kedril, when he turns to the audience and nods at the simpleton of the master, is met with uncontrollable laughter from the audience. But now, as soon as the master is taken to eat, devils appear. It’s impossible to understand anything here, and the devils appear somehow too unhumanly: in the side wings a door opens and something in white appears, and instead of a head he has a lantern with a candle; another phantom, also with a lantern on his head, holds a scythe in his hands. Why lanterns, why a scythe, why devils in white? Nobody can explain to themselves. However, no one thinks about it. That's right, that's how it should be. The master rather bravely turns to hell and shouts to them that he is ready for them to take him. But Cedril is as cowardly as a hare; he crawls under the table, but, despite his fright, does not forget to grab a bottle from the table. The devils hide for a moment; Cedril crawls out from behind the table; but as soon as the master takes up the chicken again, the three devils burst into the room again, pick up the master from behind and carry him to the underworld. - Kedril! Save me! - shouts the barin. But Kedril is not up to it. This time he stole the bottle, the plate, and even the bread under the table. But now he is alone, there are no devils, the master too. Cedril gets out, looks around, and a smile lights up his face. He squints his eyes picaresquely, sits down on the master's seat and, nodding to the audience, says in a half-whisper:

- Well, now I'm alone ... without a master! ..

Everyone laughs at the fact that he is without a master; but now he adds in a half-whisper, addressing the public confidentially and winking more and more cheerfully with his little eye:

- The devil took the master! ..

The delight of the audience is boundless! In addition to the fact that the devil took the master, the ego was expressed in such a way, with such roguishness, with such a mockingly triumphant grimace, that it is really impossible not to applaud. But Kedril's happiness does not last long. As soon as he disposed of the bottle, poured himself into a glass and was thirsty, when the devils suddenly return, sneaking on tiptoe from behind and scratching his flank. Cedril screams at the top of his lungs; from cowardice he does not dare to turn around. He also cannot defend himself: in his hands is a bottle and a glass, with which he is unable to part. Open-mouthed in horror, he sits for half a minute, bulging his eyes at the audience, with such a hilarious expression of cowardly fright that one could definitely paint a picture from him. Finally they carry him, carry him away; bottle with him, he swings his legs and screams, screams. His screams are heard backstage. But the curtain falls and everyone laughs, everyone is delighted ... The orchestra begins the Kamarinskaya.

Characters:

Ataman, formidable in appearance, in a red shirt, black undershirt, black hat, with a gun and a saber, with pistols in his belt; undershirt and hat are richly decorated with gold paper

Yesaul, dressed almost the same as Ataman; silver paper decorations

The robbers are dressed in red shirts, on their heads are fur hats with badges made of multi-colored paper, various weapons are in their belts.

Unknown (aka Bezobrazov), dressed in a soldier's uniform, with a gun in his hands and a dagger in his belt.

rich landowner, elderly, sometimes gray-haired, in shoes, a jacket or dressing gown, a bowler hat on his head, a pipe with a long stem in his hands.

The action takes place on the wide expanse of Mother Volga, on a light boat, last scene on the shore, in the house of a rich landowner. No scenery, no backstage, no prompter, or any stage equipment in general is required.

All those participating in the performance enter a predetermined hut with the singing of a song. Most often the following is performed:

Let me, let me, master
Enter the new hill!
Chorus: Oh viburnum, oh raspberry!
Black currant!
Black currant!
Enter the new hill
Walk along the hill
Walk along the hill
Speak the word!
In your house, master,
Is there an extra log?
If an extra log,
Let's cut him out!

At the end of the song, Yesaul steps forward and, turning to the owner, says: “Would you like to see the performance, owner?” The owner usually answers: “You are welcome!”, “Welcome!” or something like that.

All participants in the performance go to the middle of the hut and form a circle, in the middle of which Ataman and Yesaul stand against each other.

Scene 1

Ataman

(He stamps his foot and screams menacingly.)

Esaul ( In the same way, he stamps his foot and shouts back.)

Ataman

Come to me quickly

speak to me boldly

Won't come soon

Do not speak boldly -

Esaul

Here I am in front of you

Like a leaf before grass!

What do you order, Ataman?

Ataman

Something boring ... Sing me my favorite song.

Esaul

Listen, Ataman!

Sings a song, the choir picks up.

The beginning of each line is sung by Yesaul.

Oh, you, my mountains, mountains.

Vorobyovskie mountains!

Nothing you, oh yes mountains,

Didn't argue

You only spawned, mountains,

White combustible stone!

Runs from under the stone

A fast river ... etc.

The chieftain, while singing a song, walks back and forth in deep thought with his arms crossed on his chest. At the end of the song, he stops, stomps his feet and screams.

Ataman

Come to me quickly

Talk to me boldly!

Won't come soon

Do not speak boldly -

I order you to roll a hundred

Your Esaul service will be lost for nothing!

Esaul

What do you order, mighty Ataman?

Ataman

Let's go down the mother along the Volga to roam

Go to the ataman cabin,

Look in all directions:

Yesaul takes a cardboard tube and looks around.

Ataman

(Screams.)

Look back, tell me quickly!

Esaul

I look, I look and I see!

Ataman

Tell me what you see

Esaul

I see: a deck on the water!

Ataman

(No matter how I heard.)

What the hell is the voevoda!

Whether there are a hundred or two hundred -

I know them and I'm not afraid

And if I flare up

I'll get even closer to them!

Esaul-well done!

Take my suspicious phone

Go to the ataman cabin,

Look at all four sides

Are there any stumps, roots, small places?

Lest our boat run aground!

Look back, tell me quickly!

Yesaul starts looking around again. At this time, the singing of the song is heard from afar:

Among the dense forests

The robbers are coming...

Ataman

(Angrily stomping and screaming.)

Who is this walking in my reserved forests

And sings songs so loudly?

Take and bring here immediately!

Esaul

(Jumps out of the boat, but now comes back.)

A daring stranger walks in your protected forests

And sings bold songs

But you can't take it:

Threaten to kill with a gun!

Ataman

You are not an esaul, but a woman,

Your guts are weak!

Take as many Cossacks as you want

And bring a daring stranger!

Yesaul takes several people and jumps out of the boat with them.

Scene 2

Yesaul with the robbers return and bring with them the bound Stranger.

Ataman

(Terrible.)

Who are you?

Stranger

Feldwebel Ivan Pyatakov!

Ataman

How dare you walk in my reserved forests

And sing daring songs?

Stranger

I don't know anyone

Wherever I want, I walk there

And I sing daring songs!

Ataman

Tell us, whose tribe are you?

Stranger

I don't know my tribe

And recently I walk freely ...

There were two of us - my brother and me.

Raised, nurtured someone else's family;

Life was not sweet

And envy took us;

Bored bitter fate

I wanted to take a walk at will;

My brother and I took a sharp knife

And set off on a dangerous trade:

Will the moon rise in the sky

We are from the underground - into the dark forest,

We crouch and sit

And we all look at the road:

Whoever walks along the road -

We beat everyone.

We take everything!

And not at midnight deaf

Let's lay down a triple

We drive up to the tavern

We drink and eat everything for free ...

But the good fellows did not walk for long,

We were soon caught

And together with his brother, the blacksmiths forged,

And the guards took to prison,

I lived there, but my brother could not:

He soon fell ill

And didn't recognize me

And he recognized everything for some old man;

My brother soon died, I buried him,

And he killed the sentry

He himself ran into the dense forest,

Under the cover of heaven;

Wandered through the thickets and slums

And I got to you;

If you want, I will serve you

I won't let anyone down!

Ataman

(Turning to Yesaul.)

Write it down! This will be our first warrior.

Esaul

Listen, mighty Ataman!

(Turning to the Stranger.)

What is your name?

Stranger

Write - Bezobrazov!

Ataman again orders Esaul to take a telescope and see if there is any danger.

Esaul

(Declare.)

Ataman

(No matter how I heard.)

What the hell

These are worms in the mountains,

In the water - devils

In the forest - knots,

In the cities - judicial hooks,

They want to catch us

Yes, sit on the prisons,

But I'm not afraid of them

And I'll get closer to them!

Look back

Tell me soon

Otherwise, I will order you to roll a hundred raziki -

Your Esaul service will be lost for nothing!

Esaul

(Looking down the pipe again.)

I look, I look and I see!

Ataman

What do you see?

Esaul

I see a big village on the shore!

Ataman

That would have been so long ago, otherwise our belly has let down for a long time!

(Addressing the rowers.)

Turn on guys!

All robbers

(They pick up the chorus and sing the song cheerfully.)

Turn it up guys

To the steep bank, etc. to the end.

The boat comes to shore. Ataman orders Esaul to find out who lives in this village.

Esaul

(Shouting to the audience.)

Hey, half-honors, who lives in this village?

Someone from the audience answers: "Rich landowner!"

Ataman

(Sends Esaul to the rich landowner to find out.)

Is he happy for us?

Dear guests?

Scene 3

Esaul

(He gets out of the boat and, going up to one of the participants in the performance, asks.)

Is the owner at home? Who lives here?

landowner

Wealthy landowner.

Esaul

We need you!

Are you happy for us

Dear guests!

landowner

Esaul

How glad?

landowner

How the hell!

Esaul

How how? Repeat!

landowner

Like dear friends.

Esaul

Well, that's it!

Yesaul comes back and reports everything to Ataman. The ataman orders the robbers to visit the rich landowner. The gang gets up and walks around the hut several times, singing a “roaring” song: “Hey mustache! Here are the mustaches! Ataman mustache! Having finished the song, the gang approaches the rich landowner. The Ataman and the Landowner almost literally repeat the dialogue with Yesaul.

Ataman

Is there money?

landowner

Ataman

You're lying, is there?

landowner

I tell you no!

Ataman

(Turning to the gang, screaming.)

Hey, well done, burn, fell Rich landowner!

There is a scuffle and the show ends.

Characters:

Mavrukh, in a white shirt and underpants, on his head is a white cockle, like a shroud, his face is closed, on his feet are shoe covers. Mavrukh lies on a bench carried by four officers.

Officers, four, in black jackets, straw epaulettes on their shoulders, saber belts on the side, caps or hats with ribbons and figures on their heads.

Panya, a guy dressed in a woman's dress, with a scarf on his head.

Pan, in a long black coat, in a black hat.

Pop, in a chasuble from a curtain canopy, a hat on his head, in his hands a wooden cross made of sticks, a book “for privilege” and a censer - a pot on a rope, and in it chicken droppings.

The clerk, in a caftan and hat, in the hands of a book.

The officers bring Mavrukh on a bench into the hut and place it in the middle, with his head along the hut.

Pop ( begins to walk around the deceased, censors and speaks in a drawling voice in a singsong voice, imitating the service of the priest).

Freak dead,
Died on Tuesday
Came to bury
He looks out of the window.

All ( comedy performers sing).

Mavrukh went on a campaign.
Miroton-ton-ton, Myroten.
Mavrukh died on the campaign.
Miroton-ton-ton, Myroten.
From there he rides in a black dress pan.
Miroton-ton-ton-Miroten.
- Pan you, pan, dear,
What news are you bringing?
- Madame, you will cry,
Hear my message:
Mavrukh died on the campaign,
He died from the earth.
Four officers carry the deceased
And sing, sing, sing:
Eternal memory to him!

Pop . My sovereign father, Sidor Karpovich,

How old are you?

Mavruh. Seventy.

Pop ( sings in a church way)

Seventy, grandma, seventy.
Seventy, Pakhomovna, seventy.

(Asks Mavruh.)

Sovereign my father,
How many children do you have left?

Mavrukh. Seven, grandmother, seven,

Seven, Pakhomovna, seven.

Pop. What will you feed them?

Mavrukh. Around the world, grandmother, around the world,

Peace, Pakhomovna, peace.

Pop and all (repeat the same phrase by singing further).

Around the world, grandmother, around the world,

Peace, Pakhomovna, peace.

Pop (h it lingers lingeringly, in a church way).

On the sea on the ocean,
On an island in Buyan,
Near a chiseled pillar,
Spindles gilded
The bull was chiseled,
Well ... crushed garlic.
Our children have learned
They walked to this bull,
This garlic was dipped
The dish was praised:
- Oh, what a meal,
Khvatsko, burlatsko,
Just Lobodytsko!
There is good
Yes, walk with. … far:
For twenty-five miles,
You won't get any closer.

Dyak (sings).

... Terekha, peritoneum t.s.

Pop ( reads from a book, in a church way).

Husband gets up in the morning
I washed my eyes,
My wife asked for
And the wife answers her husband:
- Eka naughty cattle!
Don't rush to work
Only fighting about food.-
The wife's husband replies:
- A good wife gets up in the morning,
Blessing, the stove floods,
And the thin wife gets up,
With abuse, the stove floods,
He pours pots with abuse.
A good broom will plow
And a thin broom will swing around.

Dyak (sings).

... Terekha, peritoneum t.s.

Pop (reads).

Cloud, lightning above us
With rain.
The uterus was broken
Steering wheel broke
There is no corsage.
The captain is in the cabin
Pilots are sitting on the bar
Crying, sobbing,
Death awaits:
- went together
We will die suddenly.

Characters:

Stepan, driver.

Vasily, driver.

Semyon Ivanovich, headman, with a badge.

Parasha, his daughter.

Ivan Petrovich, caretaker of the postal station, in a long dressing gown.

A passing merchant dressed in a Siberian coat.

Enter Stepan and Vasily, cabbies, and sing a song.

What Vanka, daring head,
How daring is your little head,
How far away from me
On whom do you repent, friend, me.

Parasha enters.

Parasha. Hello!

Stepan leaves, Vasily Petrovich remains alone, goes up to Parasha, hugs her and says.

Basil . Praskovya Semyonovna! Do you love me? If you don't love me, I'll go say goodbye to the white light. Indeed, this is my fate! (Exits.)

Parasha. Vasily, don't go, Vasily, come back!

Vasily Petrovich. Praskovya Semyonovna, do you love me? If you love me, come and give me your right hand.

Parasha comes up and offers his hand, and at this time the headman Semyon comes out, drunk, and sings.

Warden.

A snowstorm sweeps along the street,
My little one is walking through the snowstorm.
Ah, you are here!

Parasha and Vasily jump to the sides.

And what an old man! I am the headman Semyon Ivanovich. Everyone knows Semyon Ivanovich the warden. Although I am a bastard, I am still a bureaucratic person, at least a headman. I'll go, I'll go to Ivan Petrovich, he'll treat me. ( Beating at the house of Ivan Petrovich.) Is Ivan Petrovich at home?

Ivan Petrovich. Home, home, Semyon Ivanovich, home!

Warden. Ivan Petrovich! I'm visiting you. Will you treat me?

Ivan Petrovich. Go, go, Semyon Ivanovich, I'll drink, I'll drink.

Warden. Ivan Petrovich! Do you know my daughter Boy?

Ivan Petrovich. I know, I know, Semyon Ivanovich, a good girl.

Warden. Yes, good girl, Ivan Petrovich! I will marry her to you

Ivan Petrovich. What are you, Semyon Ivanovich, I heard that she is marrying Vasily the cabman.

Warden. What do you! My Paranka yes for Vasily? Yes, I will give him to the soldiers.

Leaving the caretaker.

Vasily Petrovich alone enters the stage, walks, mournful; Stepan enters.

Stepan. Why are you upset, Vasily Petrovich? Like a mouse sat on a croup.

Vasily Petrovich. Oh, Stepan, how can I not grieve! One horse was spent - where will I be driving on one? How will I buy another horse?

Stepan. Yes, you should have gone to Uncle Semyon Ivanovich and asked for money. Besides, I heard that you want to marry Paranka?

Vasily Petrovich. Eh, Stepan, don't laugh, she's no match for me.

Stepan. Well, go and see Ivan Petrovich. He will probably give you money for a horse.

Vasily Petrovich. And the truth, Stepan, go to Ivan Petrovich. ( Comes and beats at the apartment of Ivan Petrovich.) Is Ivan Petrovich at home?

Ivan Petrovich. At home. What do you need?

Vasily Petrovich. Ivan Petrovich, I am to your mercy. I've run out of horses, I need to buy another one. Are you giving me money?

Ivan Petrovich. Okay, Vasily! Just bring me a horse as a pledge, and take off your boots as a pledge. I will give money.

Vasily Petrovich began to cry and went away. Meets Stepan.

Stepan. Well, Vasily, did the caretaker give you money?

Vasily Petrovich. Hey Stepan! Yes, he demands a horse as a pledge, and he orders to take off his boots from his feet.

Stepan. Oh, he's a vile bastard! On, Vasily, a hundred rubles, get along with God!

At this time, the headman Semyon runs in.

Warden. Hey guys! Stepan, Vasily! Who will go to carry the merchant?

Stepan. Basil! Go, by the way, you will take a horse there.

Vasily leaves, and a bell rattles behind the wall.

Comes back and meets Stepan.

Stepan. What, Vasily, took the horse?

Vasily Petrovich. No, I did not take it, it did not fit.

At this time, the headman screams.

Warden. Hey guys, Stepan, Vasily! Which merchant was carrying?

Vasily Petrovich. Uncle Semyon, I drove.

Warden. The merchant lost money, five thousand rubles. Didn't you take it?

Vasily Petrovich. No, uncle, I didn't.

Warden. But you still need to search.

The merchant enters. They search Vasily - they find one hundred rubles.

Stepan. This money is mine: I gave him a horse.

Merchant. No, these are not mine. I had five thousand, and here only a hundred rubles.

The headman Vasily will arrest.

Stepan. Vasily traveled in something, whether there was any money left in the carriage.

Vasily Petrovich. Go, Stepan, look there in the cart.

Stepan leaves to watch and returns with the money.

Stepan. Uncle Semyon, the money is here, found.

Merchant. Here is my money.

Warden. Oh, so you riveted Vasily in vain?

The merchant gives Vasily five hundred rubles.

Elder (shouts). Vasily is a good fellow, Vasily is good, I will give my daughter Paranka for Vasily.

The Overseer intervenes.

Overseer. That you, Semyon Ivanovich, wanted to give Paranka for me, and hand over Vasily to the soldiers.

Warden. Oh, you vile bastard! Yes, here's a pig's ear, not Paranka.

Shows the floor angle.

The caretaker runs away and everyone disperses.

Repertoire of Russian folk drama. Prose: Russian Classical Prose: Folk Drama

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